Twilight 16. CARLISLE

16. CARLISLE He led me back to the room that he'd pointed out as Carlisle's office. He paused outside the door for an instant. â€Å"Come in,† Carlisle's voice invited. Edward opened the door to a high-ceilinged room with tall, west-facing windows. The walls were paneled again, in a darker wood – where they were visible. Most of the wall space was taken up by towering bookshelves that reached high above my head and held more books than I'd ever seen outside a library. Carlisle sat behind a huge mahogany desk in a leather chair. He was just placing a bookmark in the pages of the thick volume he held. The room was how I'd always imagined a college dean's would look – only Carlisle looked too young to fit the part. â€Å"What can I do for you?† he asked us pleasantly, rising from his seat. â€Å"I wanted to show Bella some of our history,† Edward said. â€Å"Well, your history, actually.† â€Å"We didn't mean to disturb you,† I apologized. â€Å"Not at all. Where are you going to start?† â€Å"The Waggoner,† Edward replied, placing one hand lightly on my shoulder and spinning me around to look back toward the door we'd just come through. Every time he touched me, in even the most casual way, my heart had an audible reaction. It was more embarrassing with Carlisle there. The wall we faced now was different from the others. Instead of bookshelves, this wall was crowded with framed pictures of all sizes, some in vibrant colors, others dull monochromes. I searched for some logic, some binding motif the collection had in common, but I found nothing in my hasty examination. Edward pulled me toward the far left side, standing me in front of a small square oil painting in a plain wooden frame. This one did not stand out among the bigger and brighter pieces; painted in varying tones of sepia, it depicted a miniature city full of steeply slanted roofs, with thin spires atop a few scattered towers. A wide river filled the foreground, crossed by a bridge covered with structures that looked like tiny cathedrals. â€Å"London in the sixteen-fifties,† Edward said. â€Å"The London of my youth,† Carlisle added, from a few feet behind us. I flinched; I hadn't heard him approach. Edward squeezed my hand. â€Å"Will you tell the story?† Edward asked. I twisted a little to see Carlisle's reaction. He met my glance and smiled. â€Å"I would,† he replied. â€Å"But I'm actually running a bit late. The hospital called this morning – Dr. Snow is taking a sick day. Besides, you know the stories as well as I do,† he added, grinning at Edward now. It was a strange combination to absorb – the everyday concerns of the town doctor stuck in the middle of a discussion of his early days in seventeenth-century London. It was also unsettling to know that he spoke aloud only for my benefit. After another warm smile for me, Carlisle left the room. I stared at the little picture of Carlisle's hometown for a long moment. â€Å"What happened then?† I finally asked, staring up at Edward, who was watching me. â€Å"When he realized what had happened to him?† He glanced back to the paintings, and I looked to see which image caught his interest now. It was a larger landscape in dull fall colors – an empty, shadowed meadow in a forest, with a craggy peak in the distance. â€Å"When he knew what he had become,† Edward said quietly, â€Å"he rebelled against it. He tried to destroy himself. But that's not easily done.† â€Å"How?† I didn't mean to say it aloud, but the word broke through my shock. â€Å"He jumped from great heights,† Edward told me, his voice impassive. â€Å"He tried to drown himself in the ocean†¦ but he was young to the new life, and very strong. It is amazing that he was able to resist†¦ feeding†¦ while he was still so new. The instinct is more powerful then, it takes over everything. But he was so repelled by himself that he had the strength to try to kill himself with starvation.† â€Å"Is that possible?† My voice was faint. â€Å"No, there are very few ways we can be killed.† I opened my mouth to ask, but he spoke before I could. â€Å"So he grew very hungry, and eventually weak. He strayed as far as he could from the human populace, recognizing that his willpower was weakening, too. For months he wandered by night, seeking the loneliest places, loathing himself. â€Å"One night, a herd of deer passed his hiding place. He was so wild with thirst that he attacked without a thought. His strength returned and he realized there was an alternative to being the vile monster he feared. Had he not eaten venison in his former life? Over the next months his new philosophy was born. He could exist without being a demon. He found himself again. â€Å"He began to make better use of his time. He'd always been intelligent, eager to learn. Now he had unlimited time before him. He studied by night, planned by day. He swam to France and -â€Å" â€Å"He swam to France?† â€Å"People swim the Channel all the time, Bella,† he reminded me patiently. â€Å"That's true, I guess. It just sounded funny in that context. Go on.† â€Å"Swimming is easy for us -â€Å" â€Å"Everything is easy for you,† I griped. He waited, his expression amused. â€Å"I won't interrupt again, I promise.† He chuckled darkly, and finished his sentence. â€Å"Because, technically, we don't need to breathe.† â€Å"You -â€Å" â€Å"No, no, you promised.† He laughed, putting his cold finger lightly to my lips. â€Å"Do you want to hear the story or not?† â€Å"You can't spring something like that on me, and then expect me not to say anything,† I mumbled against his finger. He lifted his hand, moving it to rest against my neck. The speed of my heart reacted to that, but I persisted. â€Å"You don't have to breathe?† I demanded. â€Å"No, it's not necessary. Just a habit.† He shrugged. â€Å"How long can you go†¦ without breathing?† â€Å"Indefinitely, I suppose; I don't know. It gets a bit uncomfortable – being without a sense of smell.† â€Å"A bit uncomfortable,† I echoed. I wasn't paying attention to my own expression, but something in it made him grow somber. His hand dropped to his side and he stood very still, his eyes intent on my face. The silence lengthened. His features were immobile as stone. â€Å"What is it?† I whispered, touching his frozen face. His face softened under my hand, and he sighed. â€Å"I keep waiting for it to happen.† â€Å"For what to happen?† â€Å"I know that at some point, something I tell you or something you see is going to be too much. And then you'll run away from me, screaming as you go.† He smiled half a smile, but his eyes were serious. â€Å"I won't stop you. I want this to happen, because I want you to be safe. And yet, I want to be with you. The two desires are impossible to reconcile†¦Ã¢â‚¬  He trailed off, staring at my face. Waiting. â€Å"I'm not running anywhere,† I promised. â€Å"We'll see,† he said, smiling again. I frowned at him. â€Å"So, go on – Carlisle was swimming to France.† He paused, getting back into his story. Reflexively, his eyes flickered to another picture – the most colorful of them all, the most ornately framed, and the largest; it was twice as wide as the door it hung next to. The canvas overflowed with bright figures in swirling robes, writhing around long pillars and off marbled balconies. I couldn't tell if it represented Greek mythology, or if the characters floating in the clouds above were meant to be biblical. â€Å"Carlisle swam to France, and continued on through Europe, to the universities there. By night he studied music, science, medicine – and found his calling, his penance, in that, in saving human lives.† His expression became awed, almost reverent. â€Å"I can't adequately describe the struggle; it took Carlisle two centuries of torturous effort to perfect his self-control. Now he is all but immune to the scent of human blood, and he is able to do the work he loves without agony. He finds a great deal of peace there, at the hospital†¦Ã¢â‚¬  Edward stared off into space for a long moment. Suddenly he seemed to recall his purpose. He tapped his finger against the huge painting in front of us. â€Å"He was studying in Italy when he discovered the others there. They were much more civilized and educated than the wraiths of the London sewers.† He touched a comparatively sedate quartet of figures painted on the highest balcony, looking down calmly on the mayhem below them. I examined the grouping carefully and realized, with a startled laugh, that I recognized the golden-haired man. â€Å"Solimena was greatly inspired by Carlisle's friends. He often painted them as gods,† Edward chuckled. â€Å"Aro, Marcus, Caius,† he said, indicating the other three, two black-haired, one snowy-white. â€Å"Nighttime patrons of the arts.† â€Å"What happened to them?† I wondered aloud, my fingertip hovering a centimeter from the figures on the canvas. â€Å"They're still there.† He shrugged. â€Å"As they have been for who knows how many millennia. Carlisle stayed with them only for a short time, just a few decades. He greatly admired their civility, their refinement, but they persisted in trying to cure his aversion to ‘his natural food source,' as they called it. They tried to persuade him, and he tried to persuade them, to no avail. At that point, Carlisle decided to try the New World. He dreamed of finding others like himself. He was very lonely, you see. â€Å"He didn't find anyone for a long time. But, as monsters became the stuff of fairy tales, he found he could interact with unsuspecting humans as if he were one of them. He began practicing medicine. But the companionship he craved evaded him; he couldn't risk familiarity. â€Å"When the influenza epidemic hit, he was working nights in a hospital in Chicago. He'd been turning over an idea in his mind for several years, and he had almost decided to act – since he couldn't find a companion, he would create one. He wasn't absolutely sure how his own transformation had occurred, so he was hesitant. And he was loath to steal anyone's life the way his had been stolen. It was in that frame of mind that he found me. There was no hope for me; I was left in a ward with the dying. He had nursed my parents, and knew I was alone. He decided to try†¦Ã¢â‚¬  His voice, nearly a whisper now, trailed off. He stared unseeingly through the west windows. I wondered which images filled his mind now, Carlisle's memories or his own. I waited quietly. When he turned back to me, a gentle angel's smile lit his expression. â€Å"And so we've come full circle,† he concluded. â€Å"Have you always stayed with Carlisle, then?† I wondered. â€Å"Almost always.† He put his hand lightly on my waist and pulled me with him as he walked through the door. I stared back at the wall of pictures, wondering if I would ever get to hear the other stories. Edward didn't say any more as we walked down the hall, so I asked, â€Å"Almost?† He sighed, seeming reluctant to answer. â€Å"Well, I had a typical bout of rebellious adolescence – about ten years after I was†¦ born†¦ created, whatever you want to call it. I wasn't sold on his life of abstinence, and I resented him for curbing my appetite. So I went off on my own for a time.† â€Å"Really?† I was intrigued, rather than frightened, as I perhaps should have been. He could tell. I vaguely realized that we were headed up the next flight of stairs, but I wasn't paying much attention to my surroundings. â€Å"That doesn't repulse you?† â€Å"No.† â€Å"Why not?† â€Å"I guess†¦ it sounds reasonable.† He barked a laugh, more loudly than before. We were at the top of the stairs now, in another paneled hallway. â€Å"From the time of my new birth,† he murmured, â€Å"I had the advantage of knowing what everyone around me was thinking, both human and non-human alike. That's why it took me ten years to defy Carlisle – I could read his perfect sincerity, understand exactly why he lived the way he did. â€Å"It took me only a few years to return to Carlisle and recommit to his vision. I thought I would be exempt from the†¦ depression†¦ that accompanies a conscience. Because I knew the thoughts of my prey, I could pass over the innocent and pursue only the evil. If I followed a murderer down a dark alley where he stalked a young girl – if I saved her, then surely I wasn't so terrible.† I shivered, imagining only too clearly what he described – the alley at night, the frightened girl, the dark man behind her. And Edward, Edward as he hunted, terrible and glorious as a young god, unstoppable. Would she have been grateful, that girl, or more frightened than before? â€Å"But as time went on, I began to see the monster in my eyes. I couldn't escape the debt of so much human life taken, no matter how justified. And I went back to Carlisle and Esme. They welcomed me back like the prodigal. It was more than I deserved.† We'd come to a stop in front of the last door in the hall. â€Å"My room,† he informed me, opening it and pulling me through. His room faced south, with a wall-sized window like the great room below. The whole back side of the house must be glass. His view looked down on the winding Sol Duc River, across the untouched forest to the Olympic Mountain range. The mountains were much closer than I would have believed. The western wall was completely covered with shelf after shelf of CDs. His room was better stocked than a music store. In the corner was a sophisticated-looking sound system, the kind I was afraid to touch because I'd be sure to break something. There was no bed, only a wide and inviting black leather sofa. The floor was covered with a thick golden carpet, and the walls were hung with heavy fabric in a slightly darker shade. â€Å"Good acoustics?† I guessed. He chuckled and nodded. He picked up a remote and turned the stereo on. It was quiet, but the soft jazz number sounded like the band was in the room with us. I went to look at his mind-boggling music collection. â€Å"How do you have these organized?† I asked, unable to find any rhyme or reason to the titles. He wasn't paying attention. â€Å"Ummm, by year, and then by personal preference within that frame,† he said absently. I turned, and he was looking at me with a peculiar expression in his eyes. â€Å"What?† â€Å"I was prepared to feel†¦ relieved. Having you know about everything, not needing to keep secrets from you. But I didn't expect to feel more than that. I like it. It makes me†¦ happy.† He shrugged, smiling slightly. â€Å"I'm glad,† I said, smiling back. I'd worried that he might regret telling me these things. It was good to know that wasn't the case. But then, as his eyes dissected my expression, his smile faded and his forehead creased. â€Å"You're still waiting for the running and the screaming, aren't you?† I guessed. A faint smile touched his lips, and he nodded. â€Å"I hate to burst your bubble, but you're really not as scary as you think you are. I don't find you scary at all, actually,† I lied casually. He stopped, raising his eyebrows in blatant disbelief. Then he flashed a wide, wicked smile. â€Å"You really shouldn't have said that,† he chuckled. He growled, a low sound in the back of his throat; his lips curled back over his perfect teeth. His body shifted suddenly, half-crouched, tensed like a lion about to pounce. I backed away from him, glaring. â€Å"You wouldn't.† I didn't see him leap at me – it was much too fast. I only found myself suddenly airborne, and then we crashed onto the sofa, knocking it into the wall. All the while, his arms formed an iron cage of protection around me – I was barely jostled. But I still was gasping as I tried to right myself. He wasn't having that. He curled me into a ball against his chest, holding me more securely than iron chains. I glared at him in alarm, but he seemed well in control, his jaw relaxed as he grinned, his eyes bright only with humor. â€Å"You were saying?† he growled playfully. â€Å"That you are a very, very terrifying monster,† I said, my sarcasm marred a bit by my breathless voice. â€Å"Much better,† he approved. â€Å"Um.† I struggled. â€Å"Can I get up now?† He just laughed. â€Å"Can we come in?† a soft voice sounded from the hall. I struggled to free myself, but Edward merely readjusted me so that I was somewhat more conventionally seated on his lap. I could see it was Alice, then, and Jasper behind her in the doorway. My cheeks burned, but Edward seemed at ease. â€Å"Go ahead.† Edward was still chuckling quietly. Alice seemed to find nothing unusual in our embrace; she walked – almost danced, her movements were so graceful – to the center of the room, where she folded herself sinuously onto the floor. Jasper, however, paused at the door, his expression a trifle shocked. He stared at Edward's face, and I wondered if he was tasting the atmosphere with his unusual sensitivity. â€Å"It sounded like you were having Bella for lunch, and we came to see if you would share,† Alice announced. I stiffened for an instant, until I realized Edward was grinning – whether at her comment or my response, I couldn't tell. â€Å"Sorry, I don't believe I have enough to spare,† he replied, his arms holding me recklessly close. â€Å"Actually,† Jasper said, smiling despite himself as he walked into the room, â€Å"Alice says there's going to be a real storm tonight, and Emmett wants to play ball. Are you game?† The words were all common enough, but the context confused me. I gathered that Alice was a bit more reliable than the weatherman, though. Edward's eyes lit up, but he hesitated. â€Å"Of course you should bring Bella,† Alice chirped. I thought I saw Jasper throw a quick glance at her. â€Å"Do you want to go?† Edward asked me, excited, his expression vivid. â€Å"Sure.† I couldn't disappoint such a face. â€Å"Um, where are we going?† â€Å"We have to wait for thunder to play ball – you'll see why,† he promised. â€Å"Will I need an umbrella?† They all three laughed aloud. â€Å"Will she?† Jasper asked Alice. â€Å"No.† She was positive. â€Å"The storm will hit over town. It should be dry enough in the clearing.† â€Å"Good, then.† The enthusiasm in Jasper's voice was catching, naturally. I found myself eager, rather than scared stiff. â€Å"Let's go see if Carlisle will come.† Alice bounded up and to the door in a fashion that would break any ballerina's heart. â€Å"Like you don't know,† Jasper teased, and they were swiftly on their way. Jasper managed to inconspicuously close the door behind them. â€Å"What will we be playing?† I demanded. â€Å"You will be watching,† Edward clarified. â€Å"We will be playing baseball.† I rolled my eyes. â€Å"Vampires like baseball?† â€Å"It's the American pastime,† he said with mock solemnity.

Carroway Clothing Essay

Re: Current accounting issues, employment benefits and financing options. Thank you for the opportunity to address the current accounting issues, employment benefits and financing options facing Carroway Clothing Limited (CCL) 1. SR& ED and Development costs treatment: In reviewing the financial statements it appears that the development costs and SR&ED treatment may not have been recorded appropriately. The SR&ED are tax credits to be used towards taxable income and should not have been recorded as government grants. Since CCL may not have needed them in the initial years, it can use SR&ED tax credits against taxable income in the future. It is necessary to identify all SR$ERD activities for proper recording practices so that the credits generated by the SR&ED can be used against future income. The $975,000 development costs can be expensed or capitalized depending on if the following criteria are met The project is technically feasible CCL intends of complete the project CCL has the ability to use or sell the product There is probability of future economic benefit will be generated Availability of adequate technical and financial recourses CCL has the ability to measure reliably the expenditures attribute to it. Since the Walton Work Wear line is in the production stage, its accumulated development costs should be capitalized. The Carroway Cool Top has not started it commercial production which would allow the development costs not to be amortized yet. Also interest costs on loans to generate financing for the R&D activates of a product can be capitalized rather than expensed. The capitalization of interest would allow CCL to reduce taxable income in the future when it is more profitable. I would recommend that CCL make the above changes immediately so that the financail statements are not incorrect. These changes would help CCL reduce its future taxable income when it may be more profitable. 2. Allowance for Doubtful Accounts. CCL currently has no allowance for bad debts. Even though CCL does not have issue with uncollectible, having an allowance account will provide CCL with the ability to write off debts such as the disputed shipment. Without being able to write off the shipment, will leave the Accounts Receivables overstated, which in turn leads to misstated financial statements. Having an AFDA would allow CCL to record the sale but also recognise that they do not expect payment from the client. Leaving this account on the accounts receivable would be misleading to CCL’s stakeholders as it would lead them to believe that CCL is expecting to receive the cash in the near future. IF in the future, the dispute is resolved and the payment is received, CCL can recover the bad debt at that time. I would recommend that CCL create a policy regarding Accounts Receivables immediately. The method for determining the bad debt amount should be determined by CCL management. Methods such a percentage of sales or a percentage of Account Receivables can be used. Whichever method is chosen, it should be consistent from year to year and the amount should be reasonable. 3. Long Term Debt or Initial Public offering. CCL is currently looking at an initial public offering (IPO) and long term debt as two options to help finance the new research and development (R&D) of new products. The bank loan can provided financial stability but will have the interest repaid over a longer time is higher and would be tax deductible. Banks may require financial statements that are audited. CCL will need to be able to prove that it can repay the loan as well as the interest. It may also be required to maintain a debt to equity ratio that may prevent it from taking advantage of other opportunities in the future. An IPO offering has the potential to increase capital which would improve financial rations such as the debt to equity. The increased cash flow will help CCL pay it current payables and reduce debt by negotiating better interest rates in the future. The disadvantage to an IPO would be the potential to lose control over the company and having to be more accountable to other investors. The IPO would also require the financial statement and note disclosure to conform to more stringent requirements, which increase the cost of producing the financial statements. Financial statements will need to follow IFRS and securities regulators generally require 3 years of annual audited financials. It should also be noted that there is a significant cost to offering an IPO and it can be difficult to evaluate the stock price of the shares. I would recommend that CCL consider the IPO as a viable on to its financing issue as it will be more beneficial in the long term. The change from ASPE to IFRS will be a short term challenge but can be overcome with appropriate professional assistance. I would highly recommend that CCL seek the opinion and assistance of a professional who deals with IPO’s. 4. Employee Stock Options. CCL is considering providing employees stock options as a way to reward its employees. As a CCPC, CCL will have no tax consequence for the employees receiving the stock options until they dispose of the shares. The amount taxed as employment income in the year of disposal is the difference between the option price and the FMV of the shares at the time of the option was exercised. The employee may be able to claim a deduction from taxable income equal to half this amount if the shares were worth less than the exercise price when the option was issued or the employee hold the shares for at least two years before selling the shares. There are many alternatives to rewarding employees besides cash bonuses and stock options. Options can range from published recognition to merchandise such as shirts that the company makes. Time off with pay can also work to  motivate employees for hard work. I would recommend that CCL consider alternatives such as free products and time off as these will be less costly to provide than the stock options. Doing an employee survey would provide feedback to the rewards that the employees would value most. 5. Legal issues CCL is currently facing a pending lawsuit regarding a chemical leak and the non-compliance with environmental regulations. When both of the following conditions are met the amount of the contingent loss must be accrued. Disclosure will be need if the following conditions are met: The likely hood that the verdict will be against CCL A reasonable estimate of the amount o f the lawsuit can be made. The lawsuit may also lead customers and the public to believe that CCL acted negligently. This will reflect poorly on CCL and may lead to decreased sales and a damaged reputation If there is no accrual, there should be disclosure in the financial notes, stating the nature of the contingency, estimate of the amount or that an estimate cannot be made and exposure to loss in excess of the amount accrued. If CCL does not disclose, it would be misleading to the financial statement user. I would recommend that CCL consult with their legal advisors immediately to determine the likelihood of a lawsuit and the potential liabilities. Also, CCL should be prepared to address the negative publicity that the lawsuit may create. Should you require further clarification on any matters, please do not hesitate to contact me.

How Antagonists Effect a Story Essay

In the movie Dark Knight Rises, the antagonist was Bane. Bane’s motives were to wreck and destroy the plans of the protagonist, Batman. Likewise, the antagonist in the book To Kill a Mockingbird, Bob Ewell displayed similar characteristics that were against the protagonist, Scout Finch. In the case of the Shakespearean play Midsummer Night’s Dream, the antagonist is not clear since the play is fully based on confusion and accidents. However, the closest thing being the antagonist is love since it causes the characters in the play to act erratic, foolish and fickle. All the antagonists strived for one similar goal; to ruin the plans of the protagonists. In Dark Knight Rises, Bane displayed his antagonistic character by wreaking havoc in the city of Gotham which is contrary to what Batman would do. â€Å"When Gotham is ashes, then you have my permission to die. â€Å"- Bane to batman after initially defeating him explaining why he does not kill him. This line states Bane’s plan for Gotham and Batman. It also proves that Bane is the antagonist. This also display’s Bane’s yearning for power. By defeating Batman, he expects to establish his rule over Gotham. â€Å"Oh, you think the darkness is your ally. But you merely adopted the dark; I was born in it, moulded by it, I didn’t see the light until I was already a man, by then it was nothing to me but BLINDING! â€Å"- Bane to Batman during their first bout. This quote explains how Bane thinks he can defeat batman and prevail. It also displays a key quality of an antagonist which is confidence. Bane’s behavior and actions in the movie affects the plot in a huge way. It calls upon Gotham’s fate into question whether if Gotham city will survive or not. Therefore, this adds a dramatic suspense to the plot and raises its climax. In To Kill a Mockingbird, Bob Ewell displayed his antagonistic character by going against the verdict at Tom Robinson’s trial, someone who he claims, raped his daughter, Mayella Ewell. After Bob lost the case after being confronted by Atticus of clear evidence that he was lying, he attacked Atticus’ children Scout and Jem. This show’s Bob’s need for revenge and his hatred towards Atticus. He also treats mostly all the characters in the book in an offensive manner and he is hated by everyone. â€Å"I seen that black nigger yonder ruttin’ on my Mayella! † (17. 84). This quote proves his persistence in proving the point that Tom Robinson (whom he refers to as ‘nigger’) raped Mayella. Persistence is also a preserved quality in an antagonist. â€Å"You don’t have to touch her, all you have to do is make her afraid, an’ if assault ain’t enough to keep you locked up awhile, I’ll get you in on the Ladies’ Law, so get outa my sight! If you don’t think I mean it, just bother that girl again! † (27. 8, 12). This quote which was pointed against Helen Robinson, shows that Bob Ewell is a power seeking person. By scaring Helen, he is declaring his power over her. Bob has a major effect on the plot of this story, not only he is raising suspense, but he is also the leading cause for hatred in the story. Had not Bob befit this role in the plot, the story would have not reached its climax. In the Shakespearean play Midsummer Night’s Dream, the antagonist is not clearly depicted since it is a comedy. However, there seems to be a great deal of actions of foolishness and fickleness among the characters. This is caused by love. When Hermia fell in love with Lysander, Demetrius who was betrothed to marry Hermia, objected to their love. However, another maiden named Helena was in love with Demetrius. This displays a trail which love creates. In other words, a confusion on who loves who. To further eradicate this confusion, the flower’s juice which was placed on Lysander and Demetrius turned the situation around. The lovers switched their hearts to Helena. Therefore causing a huge mishap. Love has a huge effect on the plot. It caused hatred and violence therefore adding to the suspense and the climax. It was also persistent which resulted in the characters’ firm actions. In Conclusion, the antagonists in all three pieces had the following similar characteristics: Persistence, Power hunger and hatred. However, all the antagonists strived towards one specific goal that is to eliminate the protagonist. All three antagonists had similar effects towards the plot and therefore raising the climax.

Jeff Hancock's analysis speech Essay Example | Topics and Well Written Essays - 500 words

Jeff Hancock's analysis speech - Essay Example He provides different types of evidence to back up his claims such as statistical evidence and personal stories that have a bearing on his speech. His transition from one point to another within the speech was very evident, and this made it possible for the audience to keep up with him throughout the speech; this is because he was able to maintain a logical flow of thought that was not confusing to the audience. Jeff’s introduction was effective in that he was able to capture the audience’s attention through a joke and an interactive approach, by throwing them a challenge in question form. The audience demonstrated their familiarity with the topic by readily participating in the challenge, thus granting the speaker a full ear throughout the speech session. In his conclusion, Jeff was able to summarize his main points as well as reiterate his main idea about the topic of his speech; this conclusion was effective in that, not only did it achieve to signal the end of the s peech, but also it did compel the audience to reflect upon the concluded discussions. The speaker’s delivery of the speech was excellent because he struck as a credible source of information to the audience in a number of ways to build his credibility; Jeff starts by citing well-known ancient scholars thus demonstrating his vast knowledge in the topic. He also goes ahead to present different forms of evidence, in addition to, switching between a number of presentation modes such as question-answer, lecture and LCD; all that demonstrates his level of preparedness and research on the topic to the audience. Throughout the speech, Jeff appears poise, confident and professional because he does not rush through his points in a haphazard manner. The speaker performed excellently on his voice control; his choice of tone and intonation was very appropriate for

Short answers for the communication class Essay

Short answers for the communication class - Essay Example I will also use information from winemaking books. For the second and third essays, I will use Google Scholar and online library databases. I will use academic articles for â€Å"What Happens to the Brain When It Is in Love† because it involves credible evidence. For my visual aids, I will use pictures of materials needed and the stages of making wine for the first topic. For the second topic, I will use pictures of the brain and illustration tables or diagrams. For the third topic, I will use tables or diagrams. 2. How would you rate your Informative Presentation? What were things you did well? What were things you would improve? Be specific in your responses. I would rate my Informative Presentation based on the effectiveness of my hook in the introduction, the sensibility of the conclusion, the clarity of explanation for steps/stages, good grammar, spelling, and other writing mechanics, good transition sentences, proper delivery with the right use of voice and gestures, and a strong thesis. I did well in the content of my presentation, as well as my paralanguage. I explained the steps well, in a way that is engaging and helped my audience understand the steps. I also used good language that will be comprehensible to my audience. I employed proper grammar and word choices. I made to sure to have a topic and content that will keep my audience interested. Furthermore, my paralanguage did not distract my audience from my speech. I used proper pauses and other voice effects that will keep my audience on track on what I am saying and what I plan to say next. 3. What is meant by the term "paralanguage?" Is it important in delivering an effective speech? Why or why not? Paralanguage involves vocal communication that does not include actual words (Wood 137). It is made of sounds such as murmurs and pauses, as well as vocal qualities, such as volume, rhythm, pitch, and inflection (Wood 137). Paralanguage refer to the vocal cues that help the audience understand what we mean when we say something. It includes feelings that layer another meaning on vocal words. Paralanguage is important in an effective speech because it helps others interpret what speakers are saying. For example, a sentence can seem like a joke or a threat, depending on how I said it. In addition, effective speakers are experts in modulating their volume, rhythm, pitch, and inflection to engage their audiences and to keep them interested in the entire speech (Wood 137). Furthermore, paralanguage can exhibit the identity of the speaker. It can say something about their gender and culture, which are important aspects of ethos, when discussing a topic that is relevant to their sexual orientation or culture. 4. What are your top three topic ideas for the upcoming Persuasive Presentation? Are they questions of fact, value, or policy? Which method of organization do you intend to use? Where do you plan to get your research information? What will you use for a visual aid? My top three topic ideas for the upcoming Persuasive Presentation are: 1) â€Å"Our children Are Overmedicated,† 2) â€Å"We Would Benefit from Learning a Third Language,† and 3) â€Å"High School Students Should Volunteer as Part of Their

Theory Analysis of Madeline Leininger's Cultural Care Diversity and Essay

Theory Analysis of Madeline Leininger's Cultural Care Diversity and Universality Theory - Essay Example 62). Simplicity/Parsimony It’s argued that this theoretical perspective is not that of an overarching nursing theory, but instead simply offers theoretical insight into the nature of the cultural aspects of the nurse and client relationship without utilizing a reductionist methodology. In further articulating her theoretical perspective, Leidinger advanced a number of simplified terminologies to better convey the theory of cultural diverse care. Within this mode of understanding some of the primary such definitions include the understanding of care as, â€Å"to assist others with real or anticipated needs in an effort to improve a human condition of concern or to face death† and that of cultural care accommodation as, â€Å"creative nursing actions that help people of a particular culture adapt to or negotiate with oth- ers in the healthcare community in an effort to attain the shared goal of an optimal health outcome for client(s) of a designated culture† (Leidi nger pg. 8). These simplified definitions represent core elements of Leidinger’s theoretical perspective.

Architectural History Theory and Criticism Essay

Architectural History Theory and Criticism - Essay Example Charles Jencks in his book, What is Postmodernism? Provides his definition of postmodernism. He defines it as a double coding where architects combine modern techniques with something else to make architecture communicate with the public and some minorities concerned (Jencks, 2012, p. 46). In relation to design study, postmodernism presents a culture whose consideration is valuable in the process of producing architectural designs. The art of designing dates back from periods of modernization or the industrial revolution. In architects’ culture, the work of historians is essential to the success of architects’ works. Historically, the word Modernus according to Charles Jencks, were used by Christians in the 3rd century to show their superiority against the rising pagans. These Christians had a perception that they were cleaner than the pagans whose soul would be immortalized in Rome while theirs will be eternal in heaven. The term from then has undergone various changes in the different field. Post-modern on the other hand was introduced in 1875 and later had a minor description in 1934 from within modernist of Spanish Poetry. In 1947, in â€Å"A Study of History† by Arnold Toynbee, the term was used to describe a new history circle perceived to have begun in 1875. It was the formulation of the end of the western dominance, capitalism, decline of individualism and Christianity and rise in powers of non-western cultures. The term post was first used positively by Leslie Friedler, a writer in 1965. Postmodernism started in the United States around 1960 to 1970 and later spread to Europe and then to the rest of the world. The rise of postmodernism began as a way filling the gap left by modernism. It began as a way of fulfilling the limitations of modernism; it is predecessor. These limitations extend to communication purposes offered by modernism. Its origin is perceived to come as a result of the failure of the former. Many felt that